I see manipulation of materials as a playful way to pray and meditate.  I delight in the potential of paper, pigment, fabric, marble dust, oil and water to be transformed into something compelling, maybe even beautiful. Any shard or bobble, however sparkly or dull might catch my eye and be pulled into my web of creativity and transformation.

I see the studio practice of making, drawing and painting, to be a direct way to connect with the power to witness connections between the visible and invisible realms.   This place of connecting and seeing can feel magical or it can be frustrating, annoying even scary.  The many hurdles and obstacles that arise when dealing with physical matter force me to learn detachment,  accept change,  and the unexpected.  In exchange though, I  get to experience the miraculous surprises and moments of beauty that are part of the deal.   I feel constantly pushed to decide what really matters, what to keep and what to throw away. But lucky me, instead of throwing away, I have the delicious option to choose exactly what to cover, with say, a very thick layer of milky gouache, a thin veil of waxy paint or completely remove a seductively sinuous shape with my exacto blade,  which I can repurpose over on a neighboring piece in the studio.  Thus, every body of work becomes a very layered, excavated and re-excavated village full of cross pollination and connections.    

My works are meant as a mediative invitation to visit this village and for viewers to have the sensation of peeking into windows, behind veils,  or down a surprisingly enticing alleyway to see something perhaps wondrous, at least provocative, and feel the power to witness  the connection between the visible and invisible realms.